Live Art research. The stuff that only exists in the moment it happens, the performances, the happenings, the moments that can’t be pinned down or hung on a gallery wall. I think it up. I make it. I document it. Dig through it. Try to understand it. All because this work tells me something I need to know about the places and communities it came from.
How did I… you… we… end up here?
What forces shaped these spaces?
Who decided things had to be this way?
Once I really understand how environments got to be the way they are, physical, social, political, I imagine I start to see the cracks. The places where it could have gone differently. Where it still could go differently.
This isn’t just about preserving the past. A archive of photos and fading memories and half-remembered conversations I probably should have walked away from earlier. It’s about using this work, this practice, as proof that what we’ve got isn’t the only option. That the way things are isn’t the way things have to be. It’s about proving there are other ways to live, other ways to be. Ways I maybe just haven’t had the imagination or the guts to reach for yet.
Euripides Enclose The Devine, 2022
Sophocles In Time of Need, 2021
Sophocles Laocoön at BAMPFA, 2020
Euripides The Man Who Knows, 2020
Aeschylus Danaids at Pulgas Water Temple, 2018
Aeschylus Mysians, 2018
Euripides Path of Steady Success, 2018
Sophocles Nausicaä at Pillar Point, 2016
Euripides Love is the Fullest Education on Slacker Hill, 2016
Sophocles Speechless Fish at San Gregorio, 2015
Aeschylus The Argo at San Francisco Maritime, 2015
Euripides No Man’s Friend, Aquatic Park, 2015
Aeschylus Glaucus of Potniae at Golden Gate Fields, 2015
Sophocles Sinon at Emeryville Mudflats, 2015
Aeschylus Daughters of Helios at Año Nuevo State Park, 2015
Sophocles Oedipus adapted by Anthony Burgess, SFIAF, 2017
A Midsummer Night’s Dream, by William Shakespeare, SF Shakespeare Festival, 2016
The Balcony by Jean Genet, Collected Works, 2015
King Fool by John Hadden, We Players, 2014
The Blue Room by David Hare, 2004
True West by Sam Shepard,2003
Marat/Sade by Peter Weiss, 2001
The Revenger’s Tragedy by Cyril Tournour, 2000
Mountain Language by Harold Pinter, 2002
Altea Hayes’ Bird’s Eye View, McMurtry Art Building, Stanford, 2019
Alonzo King LINES Ballet Pole Star. 2019
Alonzo King LINES Ballet Common Ground, 2018
Chocolate Heads: Ghost Architecture, 2016
Nothing is Sacred?, Museum of Performance + Design, 2016
Chocolate Heads: Spring Charrette, 2016
Chocolate Heads: Flower at Windhover, 2016
Artist Weather: Pray for Rain, 2016
Chocolate Heads: Building Scene ⎪Space Launch, 2015
Artist Weather Television, 2015-2016
Shakespeare’s Romeo & Juliet, 2015
We Players’King Fool, 2014
We Players’Macbeth at Fort Point, 2014
Collected Works’ Lecture on Nothing, 2013
We Players’ Macbeth at Fort Point, 2013
Angrette McCloskey’s Building Score 101b, 2013
Collected Works’ Princess Ivona, 2013
Niki Ulehla’s Inferno, 2011
Collected Works’ My Head is Burning, 2011
Niki Ulehla’s Hansel & Hansel, 2011
Franconia Performance Salon, 2011–2015
The spectacle is not a collection of images,
but a social relation among people,
mediated by images.
Guy Debord